12 Concertos For Violin, Strings And Basso Continuo. Par VIVALDI ANTONIO. Antonio Vivaldi's twelve concertos op. 4 known by the name of 'La Stravaganza” were first mentioned as a collection of 'Concerti a 4” in the 1711 Foreword of 'L'Estro Armonico” op. 3. Their publication had to wait until 1716, when Estienne Roger issued them in two volumes of six concertos each. However, unlike the original announcement, 'La Stravaganza” is more than a collection of concertos for solo violin with string accompaniment: in five of the concertos the soloist is joined by a second solo violin or even by a solo violoncello (Concerto No. 7). The many reprints of 'La Stravaganza” bear witness to its popularity and widespread dissemination well into the 1730s. Besides the surviving prints, there is a significant body of handwritten sources containing alternative versions for seven of the concertos. Some of these manuscripts stem from the music library of Johann Georg Pisendel. This edition of 'La Stravaganza” is not only the first scholarly-critical edition, it is also the only complete edition available. In addition to the twelve concertos handed down in the Roger edition, Bärenreiter offers an additional concerto in full score, piano reduction and parts contained in the 1728 print issued by the English publishers Walsh and Hare, as well as alternative versions (without viola) found in handwritten sources for Concertos No. 6 (Volume 1) and No. 11 (Volume 2)./ Répertoire / Violon, Cordes et Basse Continue

Critical edition by Olivier Fourés. Among the hundreds of violin concertos written by Vivaldi, which stand at the centre of his activity as a virtuoso, there are three that are in part incomplete: RV 370, RV 378 and RV 745. While only a portion of the first movement has survived in the case of RV 378, RV 320 lacks only a few bars at the end of its third movement, and only the last movement of RV 745 is extant. Incompleteness of this nature does, however, result in performable and perfectly enjoyable texts. The manuscripts of these three concertos are all autograph and datable to Vivaldi's last creative period (c. 1730-1741), years in which the Red Priest mixes his various musical experiences to create a language that is increasingly disparate and introspective. With the major-minor chiaroscuro of the first movement of the concerto RV 320, the spirited virtuosity of the RV 378 and the more mechanical virtuosity of RV 745, these three concertos offer a cross-section of the imagination and complexity that Vivaldi brings to the treatment of the violin in his late maturity. / Violon, Cordes Et Basse Continue